“Jim wanted to take the idea of the everyday man that Johnny embodied and make it a good book for everyone,” said Amelia Davis, the managing director of Marshall’s estate and his assistant for 13 years until his death.

“Jim wanted to take the idea of the everyday man that Johnny embodied and make it a good book for everyone,” said Amelia Davis, the managing director of Marshall’s estate and his assistant for 13 years until his death.

Each of the 19 images, some iconic and others previously unseen, were hung in identical black frames. Patrons sipped bourbon sours and got close to the photographs, studying the composition and detail.

Each of the 19 images, some iconic and others previously unseen, were hung in identical black frames. Patrons sipped bourbon sours and got close to the photographs, studying the composition and detail.

Before music photographer Danny Clinch would speak to anyone at the event, he studied each photograph, a Leica M6 camera dangling from his neck. Widely considered Marshall’s protégé, Clinch attributes his impeccable system of cataloging photos to Marshall.

Before music photographer Danny Clinch would speak to anyone at the event, he studied each photograph, a Leica M6 camera dangling from his neck. Widely considered Marshall’s protégé, Clinch attributes his impeccable system of cataloging photos to Marshall.

“One day I went to Jim’s house and clearly woke him up. He answered the door in his underwear but invited me in. I can’t remember if there was whiskey or not, that was kind of like breaking bread with Jim," Clinch said.

“One day I went to Jim’s house and clearly woke him up. He answered the door in his underwear but invited me in. I can’t remember if there was whiskey or not, that was kind of like breaking bread with Jim," Clinch said.

"But he took a photograph, it was of Beck, and looked at the front, turned it over and said “there’s not contact sheet number, no name” and then he ripped it up and put the pieces back in the box. He did that with three more and he told me as he was ripping to always label my photographs. I’ll always remember that,” Clinch said.

"But he took a photograph, it was of Beck, and looked at the front, turned it over and said “there’s not contact sheet number, no name” and then he ripped it up and put the pieces back in the box. He did that with three more and he told me as he was ripping to always label my photographs. I’ll always remember that,” Clinch said.

“Jim was unique, he never got people to pose, he wanted them natural,” said gallery owner Peter Blachley, who knew Marshall for 10 years before he died. “He was a curmudgeon; god help you if you were ever eating with him and a plate arrived with onions on it. He hated onions.”

“Jim was unique, he never got people to pose, he wanted them natural,” said gallery owner Peter Blachley, who knew Marshall for 10 years before he died. “He was a curmudgeon; god help you if you were ever eating with him and a plate arrived with onions on it. He hated onions.”

Marshall was beloved personally and professionally throughout the music community, despite his temper. Benj Gershman, bassist for O.A.R. and a burgeoning photographer, attended the event partially to pay his respects but also to check out Marshall’s work. “There’s an introspection, a calm but also a great composition,” Gershman said.

Marshall was beloved personally and professionally throughout the music community, despite his temper. Benj Gershman, bassist for O.A.R. and a burgeoning photographer, attended the event partially to pay his respects but also to check out Marshall’s work. “There’s an introspection, a calm but also a great composition,” Gershman said.